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Margaret AtwoodA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Offred says she “wish[es] this story were different” and that it “showed me in a better light, if not happier then at least more active, less hesitant, less distracted by trivia” (279). She notes that by “telling you anything at all I’m at least believing in you […] I believe you into existence” (279).
Offred reveals that she “[goes] back to Nick. Time after time, on my own, without Serena knowing” and that “I did not do it for him, but for myself entirely” (280). The encounters are passionate, unlike her time with the Commander. With him, “I close my eyes, even when I am only kissing him goodnight” (281). She tells the Commander that she believes she is pregnant although she knows that this “is wishful thinking” (283).
Ofglen suggests that Offred sneak into the Commander’s study and search his desk for information, but Offred is reluctant, thinking that “the Commander is no longer of immediate interest to me” (282). She tells Ofglen that she “can’t” and is “too afraid” and “scarcely take[s] the trouble to sound regretful” (283).
Ofglen says that they could get her out if she is in “immediate danger,” and Offred admits to herself, “I no longer want to leave, escape, cross the border to freedom. I want to be here, with Nick, where I can get at him” (283). She feels “relief” (283) when Ofglen begins to give up on her.
Offred attends a public execution, “a district Salvaging, for women only” (284). Wives, daughters, Marthas, and Handmaids gather in front of a stage on which sit “two Handmaids, one Wife” (285). They are joined by “Salvagers in their black hoods” (285) and several Aunts, including Aunt Lydia. A long rope runs along the rows of attendees and up onto the stage “like a fuse” (285).
Aunt Lydia announces that they used to precede the “Salvagings with a detailed account of the crimes of which the prisoners stand convicted” but that this has been stopped because it always led to “an outbreak […] of similar crimes” (287). The crowd is upset because the “crimes of others are a secret language […] [through which] we show ourselves what we might be capable of” (287).
Offred knows how these events proceed: the women are hanged while Offred, like the rest of the crowd, places her hands on the rope and then on her heart “to show my unity with the Salvagers and my consent, my complicity in the death of this woman” (288).
After the Salvaging, the Handmaids are told to form a circle for “a Particicution,” an execution in which Handmaids participate (290), and a man is dragged into it. He is so badly beaten his face “doesn’t look like a face,” and “he smells of shit and vomit” (290). Aunt Lydia says that he “has been convicted of rape” but refuses to give details “except to say that one woman was pregnant and the baby died” (290). Along with the other Handmaids, Offred feels “bloodlust; I want to tear, gouge, rend” (291).
The man says, “I didn’t…” but there is “a surge forward” (291). Offred explains that “we are permitted anything and this is freedom” (292). Ofglen shoves her way to the front and “pushes him down, sideways, then kicks his head viciously, one, two, three times” (291) before the others reach him and “he’s obscured by arms, fists, feet” (291-92).
Filled with “shock, outrage, nausea,” Offred confronts Ofglen about her actions, but the other Handmaid explains that the man “wasn’t a rapist at all, he was a political. He was one of ours” and that she “knocked him out. Put him out of his misery” (292) before he was viciously mobbed to death.
Later, Offred waits to meet Ofglen for their walk, but when the Handmaid arrives, “[s]he isn’t Ofglen” (294). They exchange orthodox greetings, and Offred asks, “Has Ofglen been transferred, so soon?” and the Handmaid replies, “I am Ofglen” (295). Offed realizes that “of course she is, the new one, and Ofglen, wherever she is, is no longer Ofglen” (295).
Offred is alert, her “body is no longer for pleasure only but senses its jeopardy” (296). She tries the “May Day” password unsuccessfully and realizes that the new Ofglen “isn’t one of us. But she knows” (297). However, as they part, Ofglen leans forward and whispers that the old Ofglen “hanged herself” when she “saw the van coming for her. It was better” (297).
Offed feels “great relief” (298) that Ofglen died before she could implicate her. She promises God, “Now that you’ve let me off, I’ll obliterate myself […] become a chalice. I’ll give up Nick, I’ll forget about the others” (298). She wants “to keep on living, in any form. I resign my body freely, to the uses of others” (298).
When she returns home, Serena confronts her with the garment she wore to Jezebel’s, complaining, “There was lipstick on it” and asking, “How could you be so vulgar?” (299). She says that Offred is “[j]ust like the other one. A slut. You’ll end up the same” (299). As Offred goes up to her room, she is “orderly and calm” (299).
Offred thinks about several implausible means of escape, from trying to hang herself in the closet to begging support from the Commander or Nick. She hears the van arrive, and two men enter the house. Nick comes into her room, and she wonders if “he’s one of them […] Nick, the private Eye. Dirty work is done by dirty people” (305).
Nick tells her, “It’s all right. It’s Mayday. Go with them” (305). Offred is reluctant, realizing that the Eyes must know about Mayday and could be staging a trap, but he tells her to “[t]rust me,” and she “snatch[es] at it, this offer. It’s all I’m left with” (306).
Escorted by the men, Offred passes Serena and the Commander, who “looks worried and helpless” (306). Offred realizes that “I still have it in me to feel sorry for him. Moira is right, I am a wimp” (306). The men tell the Commander that this is a matter of the “[v]iolation of state secrets,” and he looks afraid. Serena Joy goes white and says, “Bitch […] After all he did for you” (307).
Offred does not know if “this is my end or a new beginning” and accepts that she has “given myself over into the hands of strangers, because it can’t be helped” (307). The men help her into the van, and she “step[s] up, into the darkness within; or else the light” (307).
The final section of the book is presented as “a partial transcript of the proceedings of the Twelfth Symposium on Gileadean Studies […] which took place at the University of Denay, Nunavit, on June 25, 2195” (311). The keynote speaker, Professor Pieixoto, explains that the document named “The Handmaid’s Tale” by another professor was actually a collection of “approximately thirty tape cassettes” found in a metal footlocker in a city known to be “a prominent way-station on what our author refers to as ‘The Underground Female road’” (313). He also suggests that they must have been recorded after the author escaped from her confinement as a Handmaid.
Professor Pieixoto suggests that “we must be cautious about passing moral judgement [sic] upon the Gileadeans” (314) as “[o]ur job is not to censure but to understand” (315). Amid academic asides and the occasional joke, he goes on to discuss the process of establishing the authenticity of the tapes by attempting to identify people within the account.
The research team “held out no hope of tracing the narrator herself” (316). They also had no leads on patronymic names like “Ofglen” or “Ofwarren” and “drew blanks” on the names “Luke,” “Nick,” “Moira,” and “Janine,” which they believe are probably “pseudonyms, adopted to protect these individuals” (318). They have deduced that the Commander is probably a man named Waterford (although the name “Serena Joy […] appears to have been a somewhat malicious invention by our author” (321)).
Commander Waterford “met his end […] in one of the earliest purges” (321-22), charged with having “liberal tendencies,” with possessing “heretical pictorial and literary materials, and of harbouring [sic] a subversive” (322). Although they believe that Nick did help Offred escape, they do not know what ultimately happened to her. They wonder, did she “reach the outside world safely and build a new life for herself? Or was she discovered in her attic hiding place, arrested, sent to the Colonies or to Jezebel’s, or even executed?” (324).They have no way of knowing.
The two instances of corporal punishment are particular examples of complacency and complicity. During the “Salvaging,” where three women are hanged, Offred, like the rest of the crowd, places her hands on the rope and then on her heart “to show my unity with the Salvagers and my consent, my complicity in the death of this woman” (288). Despite this idea, it is difficult to argue that Offred truly is complicit in the deaths but rather is an unwilling and coerced spectator. In fact, that Salvagings used to lead to “an outbreak […] of similar crimes” (287) suggests that, for many of those attending, the process is not one of complicity but of rebellion.
The “Particicution” (290) is more complex, however. Fired up on reports that the man is a rapist who caused the termination of an unborn fetus, Offred, like the other Handmaids, is filled with “bloodlust” and a desire to “tear, gouge, rend” (291). This is the man’s ultimate fate, as he is effectively torn to pieces by a frenzied crowd of Handmaids, spared the suffering only through Ofglen’s intervention. This ceremony plays an important role in securing the complacency and complicity of the Handmaids. It serves as a release for pent-up anger and frustration, which feels like “a freedom” (292) that they do not otherwise get to experience, and as such, it acts as a pressure valve for rage they may otherwise direct at Gilead. It also reinforces the idea that Gilead is not the enemy but a benevolent, patriarchal force protecting the women from a darker external threat like sexual violence.
Complicity and complacency are also thematically significant as Offred’s relationship with Nick flourishes, and she goes to him “[t]ime after time” (280) for sex so much more passionate than the orchestrated abuse she endures with the Commander. This is an act of rebellion against Gilead’s attempt to control sexuality; it is something that she does “for myself entirely” (280), reclaiming her autonomy and her body as a source of pleasure. However, alongside this, it is also a distraction, another thing that makes her life more pleasurable but also makes her complacent and, arguably, complicit in her own imprisonment and exploitation.
Offred acknowledges that “the Commander is no longer of immediate interest to me” (282), since she has found a greater distraction in Nick. Such is the complacency that stems from this that she “scarcely take[s] the trouble to sound regretful” (283) when she refuses to help Ofglen and Mayday. Despite the fact that she is still imprisoned, still forced to endure the Ceremony every month, she has actually become content in her life now that she is visiting Nick. She makes this explicit when she admits that “I no longer want to leave, escape, cross the border to freedom. I want to be here, with Nick, where I can get at him” (283). The only thing that snaps her out of this and makes her prepared to “give up Nick” (298) is the sudden possibility that the new Ofglen may report her as a member of the resistance. Her response to this is even greater compliance and complacency in which she offers to “obliterate myself […] become a chalice” and “resign my body freely, to the uses of others” (298). Offred wishes the story showed her as “more active, less hesitant” (279), but her final action within the narrative is one of total passivity: “I have given myself over into the hands of strangers, because it can’t be helped” (307). In showing Offred entirely feeling broken by the system, abandoning any effort toward resistance, and simply accepting whatever is coming, Atwood shows the power of both political indoctrination and persistent abuse to leave people traumatized and compliant, even arguably complicit, in their treatment but also, still, the victims of terrible external forces.
The extract from the transcript of “the Twelfth Symposium on Gileadean Studies” (311) that closes the novel provides several key pieces of information. Offred recorded the story on tapes, providing insight into the fragmented structure and the repeated references to telling a story or addressing people. This recording is likely to have occurred after she escaped and that Nick was most likely telling the truth about Mayday coming to help. However, her ultimate fate and whether she made it to freedom or was “discovered in her attic hiding place, arrested, sent to the Colonies or to Jezebel’s, or even executed” (324) is unknown. Perhaps most importantly, Gilead itself does not last, and the regime becomes a moment in history, to be discussed by historians, albeit with a glib detachment and the arguably-disturbing suggestion that they should not pass “moral judgement [sic] upon the Gileadeans” (314).
By Margaret Atwood